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The first volume in over 20 years dedicated to Bacon's unconventional, psychologically trenchant portraits
Featuring works from the 1950s onward, this book explores the genre-defying portraiture of Irish British artist Francis Bacon (1909-92). It is the first publication in over 20 years dedicated to this facet of Bacon's practice. From his responses to portraiture by earlier artists to large-scale paintings memorializing lost lovers, these selected works showcase Bacon's life story. In addition to the artist's self-portraits, sitters include Lucian Freud, Isabel Rawsthorne and his lovers Peter Lacy and George Dyer.
From his renowned triptychs and paintings of ghostly figures to tender and psychologically revealing individual portraits, the figurative works displayed in this publication chart the development of a groundbreaking artist, highlighting the influence of his peers and other artists. Francis Bacon: Human Presence also features illustrated biographies of Bacon and his circle, bringing lesser-told stories to the fore.
This richly annotated second edition of the now-classic pairing of Bacon's masterpieces, New Atlantis and The Great Instauration features the addition of other works by Bacon, including The Idols of the Mind, Of Unity in Religion and Of the True Greatness of Kingdoms and Estates, as well a Summary of the each work and Questions for the reader.
Using the painter's queer identity as a framework to understand his visceral approach to figuration
Francis Bacon is considered one of the most important artists of the 20th century, best known for his distinctive way of portraying human figures. Especially in his male portraits and nudes, the physicality of the body--skin, flesh, muscles--is translated by the artist into thick, oily textures, giving the figures almost abstract shapes. Flashes of teeth, torsos and rib cages underscore Bacon's visceral philosophy regarding the human form. As the artist famously said: We are meat, we are potential carcasses. If I go into a butcher's shop I always think it is surprising that I wasn't there instead of the animal.
Beyond their carnal overtones, these paintings unite a wide variety of influences, revisiting canonical themes and combining references to the great masters of painting with Bacon's own perceptions of the male body. Both his biography and oeuvre were permeated by the presence of his lovers, with whom he established intense and turbulent relationships. Francis Bacon: The Beauty of Meat accompanies the 2024 exhibition at the Museu de Arte de São Paulo, exploring the queer aspects of the artist's work and highlighting how Bacon, with his innovative and impactful painting, paved the way for queer presence in visual culture.
Born in Ireland, British painter Francis Bacon (1909-92) worked in furniture design and interior decoration until 1945, when his career as a painter took off. He enjoyed colossal success in his lifetime, especially as part of a London cohort that included such contemporaries as Lucian Freud and John Deakin.
In The New Atlantis, Sir Francis Bacon envisions a utopian society driven by scientific discovery and enlightenment. Set on the fictional island of Bensalem, the work explores themes of knowledge, exploration, and human progress, offering a timeless meditation on the potential of science to transform civilization.
The first in-depth publication to uncover the long relationship Francis Bacon enjoyed with France, Monaco and French culture. Martin Harrison, the foremost expert on Bacon, brings a new light to a somewhat unexpected side of the artist's life and work. It was in Paris in 1927, at an exhibition dedicated to Picasso, that Francis Bacon grasped his vocation as a painter. In 1946, he moved to Monaco on the French Riviera where he lived for four years, his time in the Principality marking a turning point in his art; with his popes series, he became a painter of the human figure. In Paris he befriended artists and intellectuals, such as Giacometti and Leiris, whilst the city would become the setting for the crystalisation of his reputation in 1971 with the retrospective at the Grand Palais. In 1975, Bacon would take a studio in the Marais district. This bilingual publication--co-published by Albin Michel and The Francis Bacon MB Art Foundation--tells of Bacon's deep ties with France and Monaco, and has been overseen by Martin Harrison, author of Francis Bacon: Catalogue Raisonné.
The most notorious painter of the 20th century plumbs the animal darkness at the core of the human condition
Despite his harsh habits of self-editing and a relatively late start, the British painter Francis Bacon produced a considerable body of work that continues to electrify. In 1969, Bacon became interested in bullfighting and painted a series of powerful works that evoke anguish and eroticism simultaneously in the contorted bodies of their beastly subjects. Bullfighting is like boxing, Bacon once said. A marvelous aperitif to sex. Twenty-two years later, a single ghostly bull was the subject of his final painting. Ultimately, Bacon was most compelled by the human animal. His paintings frequently eschew the distinction between man and beast; he renders his human subjects as primitive creatures driven by base instincts such as pain and fear, while his animal subjects exude a strangely human sensibility.
This publication concentrates on the role of animals in Bacon's work, with experts discussing his varied sources of inspiration, such as Surrealist literature and the photography of Eadweard Muybridge. Francis Bacon (1909-92) began his career in furniture design and interior decoration until 1945, when his career as a painter took off. He enjoyed colossal success in his lifetime, especially as part of a London cohort that included contemporaries Lucian Freud and John Deakin.
